"A thing of beauty is a joy forever. It grows in grace, never pass into nothingness" ( Keats, Endymion )
How Bright Star was able to miss all the latest edition of the major Oscar nominations (other than that, well deserved, for the costumes by Janet Patterson) remains a mystery. And as the Academy may have preferred the last work of Jane Campion's An Education more conventional (to quote the title closer for taste and sensitivity) with a couple of other films much less worthy (read The Blind Side and Precious , which I'll discuss shortly) is a disgrace. Someone tell that to Jane Campion's Bright Star not have had any luck at the Oscars but was immediately inserted into the candidacy Best Awards 2009-2010 Confidential for Best Picture, Best Director, Best Actress and Best Actor. Well as by the quintet Best My Heart Confidential that includes my favorite games of the season just ended Coraline, Cheri , A Single Man and Lovely Bones .
" A poem must be understood through the senses", "soothes the soul and urges him to accept the mystery" , says the young poet Keats to Fanny neo student during their first lesson in poetry . And it is through the senses that is experienced and understood as a film Star Bright: bright and pure as its title, as the words of Keats, as the face of sublime Abbie Cornish.
The tormented love story between John Keats, orphaned and without income from poor health, and the neighbor Fanny Brawne, embroidery temperament strong, stubborn and independent and muse of the poet in his later years (1818-1821 ) offre a Jane Campion l'occasione per un film fuori dal tempo e dalle mode, perfettamente ancorato nello stile visivo (trasparente) e nel passo narrativo (piano e silenzioso) all'idea di amore romantico espressa nelle poesie di Keats. Il risultato è un gioiello assoluto di misura, rigore e grazia, all'altezza dei capolavori dell'autrice neozelandese, Lezioni di Piano e Ritratto di Signora .
Ma se nei film precedenti la Campion sviscerava la dimensione selvaggia e carnale dell'amore o quella dell'amore come violenza e fascinazione/sottomissione psicologica, in Bright Star è l'amore vagheggiato attraverso la sublimazione poetica a costituire il centro del discorso. Non c'è spazio per la fisicità, se non in brevi fugaci momenti (elettrizzanti) ma questo non vuol dire che il dolore e la passione non siano ugualmente lancinanti. Tutto passa attraverso la magia della parola poetica, che si tratti di un poema appena composto o di una lettera che tiene avvinti gli amanti ad un sogno, una promessa, l'attesa di un ritorno. Una parola poetica che non è mai stata così sensuale e così abilmente tradotta in immagini.
La Campion taglia inquadrature-capolavoro con la luce così come Fanny ricama e taglia tessuti e Keats compone architetture di parole. Arte. Il film non never runs the risk of style and academic year because every image has a density and an interpenetration of form and content that takes your breath away. No movement of the machine free of charge. No time narrative artifice or directing unnecessary. But Bright Star also works great as serene and at the same time painful melodrama about a love of poetry and soaked for, as such, to struggle with the mundane world (the economic condition of Keats which would enable him to marry Fanny, 's dislike of his tutor, Charles Brown, the disease). And as such is dominated by strong-willed heroine and proud to fight to the end to stay close to his beloved.
Ben Whishaw seems born to embody John Keats, but the soul of the film is Abbie Cornish. The Campion has always been masterful in directing his actresses to a level of excellence. And after Hunter, Kidman and Winslet, does not disprove his gift with the Cornish: radiant, measured and powerful, alternatives pride, angularity and openness of the salon first scene ("My sewing has more merit and admirers of scribbles both. And I can make money ", sentenced to Brown and Keats) to the stirrings of love in all its phases, including sweetness, fear, ecstasy and abandonment. Until the epilogue, memorable, undoubtedly one of the most beautiful end of the year (and as beautiful as the race of Nicole / Isabel Archer in the final Portrait of a Lady ): Fanny's reaction to the news of the death of Keats is a scene of devastating intensity (severity and directing textbook) and the Cornish deserved the Oscar just for that moment. L 'image of a hearse in the English desert is never so chilling. And it's great the last close to Fanny who walks in the woods dressed in black and recites verses from the tears of his beloved.
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